Ink may be applied to the plate
with both a roller and a brush: This allows several colours to be introduced.
A more fluid mark can be achieved
by mixing white spirit with the ink, this is then brushed onto the
plate. Further semi-transparent layers can be added by reworking the
plate and reprinting - possibly using stencils.
Painterly monotype
Textured surfaces involving delicate
and fine detail (such as leaves and thread) can be printed with remarkable
clarity.
It is possible to vary the density
of the ink; overlying the second and even third printing with fresh
marks adds interest and spacial effects. The paper is embossed enhancing
the physical qualities of the image.
Textured monotype
Card or metal can be scratched,
quite literally, with the dry point of a needle or nail, this technique
is called drypoint.
Ink is forced into the intaglio
line, the remaining flat surface is wiped clean. Whilst being printed
the pressure is so great that the damp paper will lift the ink from
inside the scratch. This method can be combined with monotype.
Simple techniques can facilitate
sophisticated and subtle results: type, lino, and paper litho are further
possiblities.
Paper litho is a modified version
of lithography where a “greasy" drawing is processed then
inked with a roller while still wet; the crayon and brush marks are
faithfully reproduced; it is possible to incoporate other methods.
